The story is said to have originated from certain events in Lawrence's own unhappy domestic life, and he took inspiration for the settings of the book from the county of Nottinghamshire, where he grew up. According to some critics, the fling of Lady Ottoline Morrell with "Tiger", a young stonemason who came to carve plinths for her garden statues, also influenced the story.[2] Lawrence at one time considered calling the novel "Tenderness", and made significant alterations to the text and story in the process of its composition.

The story concerns a young married woman, the former Constance Reid (Lady Chatterley), whose upper class husband, Sir Clifford Chatterley, described as a handsome, well-built man, has been paralysed from the waist down due to a Great War injury. In addition to Clifford's physical limitations, his emotional neglect of Constance forces distance between the couple. Her emotional frustration leads her into an affair with the gamekeeper, Oliver Mellors. The class difference between the couple highlights a major motif of the novel which is the unfair dominance of intellectuals over the working class. The novel is about Constance's realization that she cannot live with the mind alone; she must also be alive physically. This realization stems from a heightened sexual experience Constance has only felt with Mellors, suggesting that love can only happen with the element of the body, not the mind.

In Lady Chatterley's Lover, Lawrence comes full circle to argue once again for individual regeneration, which can be found only through the relationship between man and woman (and, he asserts sometimes, man and man). Love and personal relationships are the threads that bind this novel together. Lawrence explores a wide range of different types of relationships. The reader sees the brutal, bullying relationship between Mellors and his wife Bertha, who punishes him by preventing his pleasure. There is Tommy Dukes, who has no relationship because he cannot find a woman whom he respects intellectually and, at the same time, finds desirable. There is also the perverse, maternal relationship that ultimately develops between Clifford and Mrs. Bolton, his caring nurse, after Constance has left.

Richard Hoggart argues that the main subject of Lady Chatterley's Lover is not the sexual passages that were the subject of such debate but the search for integrity and wholeness.[3] Key to this integrity is cohesion between the mind and the body for "body without mind is brutish; mind without body ... is a running away from our double being."[4]Lady Chatterley's Lover focuses on the incoherence of living a life that is "all mind", which Lawrence saw as particularly true among the young members of the aristocratic classes, as in his description of Constance's and her sister Hilda's "tentative love-affairs" in their youth:

So they had given the gift of themselves, each to the youth with whom she had the most subtle and intimate arguments. The arguments, the discussions were the great thing: the love-making and connection were only sort of primitive reversion and a bit of an anti-climax.[5]

The contrast between mind and body can be seen in the dissatisfaction each has with their previous relationships: Constance's lack of intimacy with her husband who is "all mind" and Mellors's choice to live apart from his wife because of her "brutish" sexual nature.[6] These dissatisfactions lead them into a relationship that builds very slowly and is based upon tenderness, physical passion and mutual respect. As the relationship between Lady Chatterley and Mellors develops, they learn more about the interrelation of the mind and the body; she learns that sex is more than a shameful and disappointing act, and he learns about the spiritual challenges that come from physical love.

Neuro-psychoanalyst Mark Blechner identifies the "Lady Chatterley phenomenon" in which the same sexual act can affect people in different ways at different times, depending on their subjectivity.[7] He bases it on the passage in which Lady Chatterley feels disengaged from Mellors and thinks disparagingly about the sex act: "And this time the sharp ecstasy of her own passion did not overcome her; she lay with hands inert on his striving body, and do what she might, her spirit seemed to look on from the top of her head, and the butting of his haunches seemed ridiculous to her, and the sort of anxiety of his penis to come to its little evacuating crisis seemed farcical. Yes, this was love, this ridiculous bouncing of the buttocks, and the wilting of the poor insignificant, moist little penis."[8] Shortly thereafter, they make love again, and this time, she experiences enormous physical and emotional involvement: "And it seemed she was like the sea, nothing but dark waves rising and heaving, heaving with a great swell, so that slowly her whole darkness was in motion, and she was ocean rolling its dark, dumb mass."[9]

Lady Chatterley's Lover also presents some views on the British social context of the early 20th century. This is most evidently seen in the plot; the affair of an aristocratic woman (Connie) with a working class man (Mellors). This is heightened when Mellors adopts the local broad Derbyshire dialect, something he can slip in and out of. Critic and writer Mark Schorer writes of the forbidden love of a woman of relatively superior social situation who is drawn to an "outsider" (a man of lower social rank or a foreigner). He considers this a familiar construction in D.H. Lawrence's works, in which the woman either resists her impulse or yields to it.[10] Schorer believes the two possibilities were embodied, respectively, in the situation into which Lawrence was born, and that into which Lawrence married, therefore becoming a favourite topic in his work.

There is a clear class divide between the inhabitants of Wragby and Tevershall, bridged by the nurse Mrs Bolton. Clifford is more self assured in his position, whereas Connie is often thrown when the villagers treat her as a Lady (for instance when she has tea in the village). This is often made explicit in the narration, for instance:

Clifford Chatterley was more upper class than Connie. Connie was well-to-do intelligentsia, but he was aristocracy. Not the big sort, but still it. His father was a baronet, and his mother had been a viscount's daughter.[11]

There are also signs of dissatisfaction and resentment from the Tevershall coal pit colliers, whose fortunes are in decline, against Clifford who owns the mines. Involved with hard, dangerous and health-threatening employment, the unionised and self-supporting pit-village communities in Britain have been home to more pervasive class barriers than has been the case in other industries (for an example, see chapter two of The Road to Wigan Pier by George Orwell.) They were also centres of widespread non-conformist (Non-Anglican Protestant) religion, which tended to hold especially proscriptive views on matters such as adultery. References to the concepts of anarchism, socialism, communism and capitalism permeate the book. Union strikes were also a constant preoccupation in Wragby Hall.
Coal mining is a recurrent and familiar theme in Lawrence's life and writing due to his background, and is also prominent in Sons and Lovers and Women in Love, as well as short stories such as Odour of Chrysanthemums.

As in much of Lawrence's fiction, a key theme is the contrast between the vitality of nature and the mechanised monotony of mining and industrialism. Clifford wants to reinvigorate the mines with new technology and is out of touch with the natural world.[12] In contrast, Connie often appreciates the beauty of nature and sees the ugliness of the mines in Uthwaite. Her heightened sensual appreciation applies not just to her sexual relationship with Mellors, but to nature too.

An edition of the novel was published in Britain in 1932 by Martin Secker; reviewing it in The Observer, the journalist Gerald Gould noted that "passages are necessarily omitted to which the author undoubtedly attached supreme psychological importance – importance so great, that he was willing to face obloquy and misunderstanding and censorship because of them".[13] An authorised and heavily censored abridgment was published in the United States by Alfred A. Knopf, Inc. in 1928. This edition was subsequently reissued in paperback in the United States by Signet Books in 1946.

When the full unexpurgated edition was published by Penguin Books in Britain in 1960, the trial of Penguin under the Obscene Publications Act 1959 was a major public event and a test of the new obscenity law. The 1959 Act (introduced by Roy Jenkins) had made it possible for publishers to escape conviction if they could show that a work was of literary merit. One of the objections was to the frequent use of the word "fuck" and its derivatives. Another objection related to the use of the word "cunt".

Various academic critics and experts of diverse kinds, including E. M. Forster, Helen Gardner, Richard Hoggart, Raymond Williams and Norman St John-Stevas, were called as witnesses, and the verdict, delivered on 2 November 1960, was "not guilty". This resulted in a far greater degree of freedom for publishing explicit material in the United Kingdom. The prosecution was ridiculed for being out of touch with changing social norms when the chief prosecutor, Mervyn Griffith-Jones, asked if it were the kind of book "you would wish your wife or servants to read".

The Penguin second edition, published in 1961, contains a publisher's dedication, which reads: "For having published this book, Penguin Books was prosecuted under the Obscene Publications Act, 1959 at the Old Bailey in London from 20 October to 2 November 1960. This edition is therefore dedicated to the twelve jurors, three women and nine men, who returned a verdict of 'not guilty' and thus made D. H. Lawrence's last novel available for the first time to the public in the United Kingdom".

Not only was the book banned in Australia, but a book describing the British trial, The Trial of Lady Chatterley, was also banned. A copy was smuggled into the country and then published widely. The fallout from this event eventually led to the easing of censorship of books in the country, although the country still retains the Australian Classification Board.

The case arose when the police had seized their copies of the book and deposited them with a judge of the Court of Sessions of the Peace, who issued a notice to the booksellers to show cause why the books should not be confiscated as obscene, contrary to s 150A of the Criminal Code.[14] The trial judge eventually ruled that the book was obscene and ordered that the copies be confiscated. This decision was upheld by the Quebec Court of Queen's Bench, Appeal Side (now the Quebec Court of Appeal).[15]

Scott then appealed the case to the Supreme Court of Canada. That Court allowed the appeal on a 5–4 split, holding that the book was not an obscene publication.[16]

On 15 November 1960 an Ontario panel of experts, appointed by Attorney General Kelso Roberts, found that novel was not obscene according to the Canadian Criminal Code.[17]

Lady Chatterley's Lover was banned for obscenity in the United States in 1929. In 1930, SenatorBronson Cutting proposed an amendment to the Smoot–Hawley Tariff Act, which was then being debated, ending the practice of having United States Customs censor allegedly obscene imported books. Senator Reed Smoot vigorously opposed such an amendment, threatening to publicly read indecent passages of imported books in front of the Senate. Although he never followed through, he included Lady Chatterley's Lover as an example of an obscene book that must not reach domestic audiences, declaring "I've not taken ten minutes on Lady Chatterley's Lover, outside of looking at its opening pages. It is most damnable! It is written by a man with a diseased mind and a soul so black that he would obscure even the darkness of hell!"[18]

A 1955 French film version based on the novel and released by Kingsley Pictures was the subject of attempted censorship in New York in 1959 on the grounds that it promoted adultery.[19] The US Supreme Court held on 29 June 1959 that the law prohibiting its showing was a violation of the First Amendment's protection of free speech.[20]

Susan Sontag, in a 1961 essay in The Supplement to the Columbia Spectator that was republished in Against Interpretation (1966), dismissed Lady Chatterley's Lover as a "sexually reactionary" book, and suggested that the importance given to vindicating it showed that the United States was "plainly at a very elementary stage of sexual maturity."[23]

The publication of a full translation of Lady Chatterley's Lover by Sei Itō in 1950 led to a famous obscenity trial in Japan, extending from 8 May 1951 to 18 January 1952, with appeals lasting to 13 March 1957. Several notable literary figures testified for the defence, and the trial ultimately ended in a guilty verdict with a ¥100,000 fine for Ito and a ¥250,000 fine for his publisher.

In 1964, bookseller Ranjit Udeshi in Bombay was prosecuted under Sec. 292 of the Indian Penal Code (sale of obscene books)[24] for selling an unexpurgated copy of Lady Chatterley's Lover.

Ranjit D. Udeshi v. State of Maharashtra (AIR 1965 SC 881) was eventually laid before a three-judge bench of the Supreme Court of India, where Chief Justice Hidayatullah declared the law on the subject of when a book can be regarded as obscene and established important tests of obscenity such as the Hicklin test.[25]

The judgement upheld the conviction, stating that:

When everything said in its favour we find that in treating with sex the impugned portions viewed separately and also in the setting of the whole book pass the permissible limits judged of from our community standards and as there is no social gain to us which can be said to preponderate, we must hold the book to satisfy the test we have indicated above.

In the United States, the free publication of Lady Chatterley's Lover was a significant event in the "sexual revolution". At the time, the book was a topic of widespread discussion and a byword of sorts. In 1965, Tom Lehrer recorded a satirical song entitled "Smut", in which the speaker in the song lyrics cheerfully acknowledges his enjoyment of such material; "Who needs a hobby like tennis or philately?/I've got a hobby: rereading Lady Chatterley."

British poet Philip Larkin's poem "Annus Mirabilis" begins with a reference to the trial:

Sexual intercourse began
In nineteen sixty-three
(which was rather late for me) -
Between the end of the "Chatterley" ban
And the Beatles' first LP.

By 1976, the story had become sufficiently safe in the United Kingdom to be parodied by Morecambe and Wise; a "play what Ernie wrote", The Handyman and M'Lady, was obviously based on it, with Michele Dotrice as the Lady Chatterley figure. Introducing it, Ernie explained that his play "concerns a rich, titled young lady who is deprived of love, caused by her husband falling into a combine harvester, which unfortunately makes him impudent." [26]

In 1946, Victor Pettersons Bokindustriaktiebolag Stockholm, Sweden published an English hardcover edition, copyright Jan Förlag. It is marked "Unexpurgated authorized edition". A paperback edition followed in 1950.[citation needed]

Dieter Mehl & Christa Jansohn, ed. (1999). The First and Second Lady Chatterley Novels. Cambridge University Press. ISBN0-521-47116-8. These two books, The First Lady Chatterley and John Thomas and Lady Jane, were earlier drafts of Lawrence's last novel.

Lady Chatterley's Lover has been re-imagined as a love triangle set in contemporary Silicon Valley, California in the novel Miss Chatterley by Logan Belle (the pseudonym for American author Jamie Brenner) published by Pocket Star/Simon & Schuster, May 2013.[29]

Ang Kabit ni Mrs Montero (Mrs. Montero's Paramour, 1998) is a Filipino soft-core film adapted by director Peque Gallaga. Edu Manzano was cast as Cal Montero, the localised version of Clifford Chatterley (now a hacienda owner), Patricia Javier as his wife Gail, and Gardo Versoza as the local version of Mellors. Sunshine Cruz was added as a physical therapist tending to Mr Montero.[citation needed]

The French director Pascale Ferran[32] filmed a French-Language version (2006) with Marina Hands as Constance and Jean-Louis Coulloc'h as the gamekeeper, which won the Cesar Award for Best Film in 2007. Marina Hands was awarded best actress at the 2007 Tribeca Film Festival.[33] The film was based on John Thomas and Lady Jane, Lawrence's second version of the story. It was broadcast on the French television channel Arte on 22 June 2007 as Lady Chatterley et l'homme des bois (Lady Chatterley and the Man of the Woods).

Lawrence's novel was successfully dramatised for the stage in a three-act play by British playwright John Harte. Although produced at the Arts Theatre in London in 1961 (and elsewhere later on), his play was written in 1953. It was the only D.H. Lawrence novel ever to be staged, and his dramatisation was the only one to be read and approved by Lawrence's widow, Frieda. Despite her attempts to obtain the copyright for Harte to have his play staged in the 1950s, Baron Philippe de Rothschild did not relinquish the dramatic rights until his film version was released in France.

Lawrence, D. H. (2002). Squires, Michael (ed.). Lady Chatterley's Lover and A Propos of 'Lady Chatterley's Lover'. The Cambridge Edition of the Works of D. H. Lawrence. Cambridge: University of Cambridge Press. ISBN0-521-00717-8. Edited with an introduction, explanatory notes, glossary, textual apparatus and various appendices by Michael Squire. The standard and definitive text.